“Seth material” search engine (Jane Roberts)

(The night was very hot and uncomfortably humid, but Jane didn’t want to miss the session. We held it in her study for a change, with all the doors and windows open.

(Jane’s pace tonight was rather slow, her voice quiet.)

(10:10. “That was one of the few times in all of these sessions,” Jane said, “when I was not even in trance.” She had squirmed about on her chair constantly, but her delivery had picked up to its usual steady pace. For more data on moment points, see the material at 9:26 in the last session. Resume at 10:28.)

Often you do not trust your imagination, considering that it deals with phenomena that cannot be called fact. Therefore you artificially form a situation in which overall traces must be made. If you are too imaginative, for example, you may not be able to adequately deal with physical life. This applies only in the cultural media in which you presently operate, however. Originally, and in your terms of time, it was precisely the imagination that in its own way set you apart from other creatures, enabling you to form realities in your mind that you could “later” exteriorize.

(Seth was all ready to go, Jane added now as we discussed her dream material, so the session resumed at 12:03.)

3. I feel that I am such an artist. For some related material see my notes for the 582nd session in Chapter Twenty of Seth Speaks. It’s enough to say here that it wasn’t until after these sessions began, in 1963, that I realized my inner models were quite as valid as those who physically sat before me. Indeed, I often saw the former with a clearer vision, but my early training and work as a commercial artist, beginning in New York City in 1939, conditioned me to believe that the artist was supposed to deal only with what he could “see” objectively.